Compose a piece using only untuned drums and percussion.
No drum loops are to be used.
Guidelines:
- Layer sounds to create textures
- Focus on contrast to create structure
- Use complete frequency range
- Use whole dynamic range
- Use tempo changes
Tempo- Use either:
- A minimum of one time signature
- Polyrythmic time base
THERE HAS TO BE AT LEAST ONE PERFORMANCE ELEMENT.
Websites to look at:
- http://www.openoctave.org/the_composers_toolbox/orchestral_instruments/percussion/unpitched_percussion
- http://www.bbc.co.uk/orchestras/learn/guidetotheorchestra/percussion/untuned/
- http://www.percussion4u.co.uk/a_to_z_of_percussion_instruments.shtml
- https://www.orsymphony.org/edu/instruments/percussion.aspx
Research
Drums have appeared in hostroy since around 6000 BC. Used in warfare for much of its life, the drum has had a large impact of society as a whole since its creation.
This timeline created for the website gives a detailed look into the history of drums and their differences throughout time periods. http://www.timetoast.com/timelines/33290
There is some disagreement as to where the first cymbals were created; Tibet, China, India, Turkey; but it is agreed that it was around the beginning of the Bronze age (3000 BC). (Source 1)
[Picture 1] Roman mosaic from the Villa del Cicerone in Pompeii.
Around 1910 in America, saw the birth of a type of drum kit comprised of bass drum (with pedal), snare, cymbals and various percussion instruments including wood blocks, triangle and gongs. The 1920's saw the invention of the "low boy" which has developed into the modern hi-hat stand. This set up has become the norm since the 1930's when a huge number of musicians using the drum kit for their music including Duke Ellington, Count Basie, and Benny Goodman.
"This new sound began in 1923 when band leader Fletcher Henderson began composing and arranging original music for his ensemble. With space left for improvisation, the characteristics of his music consisted of tight harmonization, call and response between the brass and reeds, and the use of repeated riff figures played behind a soloist." (Source 2)
The Composition
The piece was created in Cubase and Reason and uses a range of percussion instruments from bass drums, cymbals and cow bells to agogo, claves and bongos. Track list can be seen below.
Attention was given to mixing the timbres of these instruments to create texture. The idea was to ensure that there was a mix of lower and higher sounding instruments. Rhythms were created in a basic rock style but substituting certain instruments for the percussion sounds as seen in the table. The piece begins in 4/4, moves quickly into ¾ in the second section, moves back to 4/4 then shift to 5/4 and goes back to 4/4 in the final section. This gives the piece a certain uneasy quality as though building tension. The tempo is pulled faster in the second to last section in order to help portray a sense of tension and unease. The final section is a basic rock drum beat using bongo’s to try to give it more of a sense of place.
The Composition
The piece was created in Cubase and Reason and uses a range of percussion instruments from bass drums, cymbals and cow bells to agogo, claves and bongos. Track list can be seen below.
| Track | Instrument |
| 1 | Bass Drum |
| 2 | Concert Drum |
| 3 | Bass Drum |
| 4 | Snare |
| 5 | Low Bongo |
| 6 | Tambourine Hit |
| 7 | Cow Bell |
| 8 | Claves |
| 9 | Agogo |
| 10 | Tambourine Jingle |
| 11 | Maracas |
| 12 | Crash Cymbal |
| 13 | Bongo (High) |
| 14 | Triangle |
| 15 | Castanets |
| 16 | Crash Cymbal |
Attention was given to mixing the timbres of these instruments to create texture. The idea was to ensure that there was a mix of lower and higher sounding instruments. Rhythms were created in a basic rock style but substituting certain instruments for the percussion sounds as seen in the table. The piece begins in 4/4, moves quickly into ¾ in the second section, moves back to 4/4 then shift to 5/4 and goes back to 4/4 in the final section. This gives the piece a certain uneasy quality as though building tension. The tempo is pulled faster in the second to last section in order to help portray a sense of tension and unease. The final section is a basic rock drum beat using bongo’s to try to give it more of a sense of place.
Analysis of the Piece
The piece itself doesn’t really work as a whole composition, rather as a collection of smaller compositions; the structure of the piece, though somewhat intentional, causes confusion between the sections. While this was intended to create unease and tension, it instead creates a sense of unfinished work and stops the piece from flowing.
References
Source 1: http://www.drummagazine.com/gear/post/5000-years-in-3000-words-cymbal-history/
Date Accessed: 08/03/2014
Source 2: http://www.nationaljazzworkshop.org/freematerials/fidyk/Steve_Fidyk_History_Drum_Set.pdf
Date Accessed: 08/03/2014
Source 3:
Date Accessed:
Picture 1: http://www.drummagazine.com/gear/post/5000-years-in-3000-words-cymbal-history/
Date Accessed: 08/03/2014
No comments:
Post a Comment